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Interview with Hiroki Kikuta (RocketBaby - January 2001)
The following interview was carried out by RocketBaby.net, a sadly defunct site that once interviewed numerous game composers. Square Enix Music Online is hosting the interview to avoid it being lost forever. The translation was by Shinsuke Fukada.
RocketBaby: At what age did you become interested in music?
Hiroki Kikuta When I was ten years old, I encountered the music of Emerson, Lake & Palmer. I had never heard such marvelous music before. It was quite an impact for me. A few months later I heard that Keith Emerson was using a particular instrument called the MOOG synthesizer.
RocketBaby: At what age did you start writing music?
Hiroki Kikuta When I was twelve years old, the Folk Blues movement came over to Japan from America. I studied acoustic guitar and started to create an original song immediately. I wanted to be a singer/ songwriter... if I wasn't a terrible singer. Actually, Digital equipment opened up my potential as a music composer. Without a musical sequencer, I can't create any complicated tunes. When I first acquired a YAMAHA SY-77 synthesizer/sequencer, I felt as if I got a ticket to a different world.
RocketBaby: Why did you start Sacnoth?
Hiroki Kikuta I had held many original ideas about video games and visual expression for a long time. The most important purpose is to create an entertainment. When I was searching for a way to achieve my dream, I met a dominant business advisor. He introduced me to the chairman of SNK. I told him about many pitfalls that every existing RPG had. I thought those were lacking a comprehensive insight and an integrative interpretation. It is a structural defect of game production.
To resolve the problem, it is necessary to get the picture of each element of game creation at the same time. I have an ability to do that. I established a company Sacnoth and took up my position as CEO in order to produce a new horror RPG project, Koudelka. But unfortunately... Though I conceived a grand scheme to realize an innovative game system and visual expression, many old staff members from Square were not able to accept real change without hesitation. I say that the person who will have no change is already dead. After termination of Koudelka project, I retired as CEO of Sacnoth. It was my choice.
RocketBaby: As a composer, how should music affect the game? As a developer, how should the music affect the game?
Hiroki Kikuta A music composer wants to create a good tune with utter simplicity. But if you want to create a good game as a developer, it is not enough. Because good music does not necessarily fit a good game. The most important problem is adjustment of each of the elements. If the visual element exactly synchronizes with the musical element, a dramatic effect will be generated. And I take it for granted that everybody wants to hear a good melody in the end.
RocketBaby: What were your influences for Koudelka?
Hiroki Kikuta In the first instance, I designed all concepts and fundamental settings of the Koudelka's world. I gathered various graphic and text materials in London and Wales. I did character design, map design, event design, scenario writing, direction of computer graphics movie, direction of motion capture... I got involved with all of the integral parts of Koudelka except the battle and game system. I had no influence in battle section. I still have much regret about. I wish I could have designed it.
And a quick digression, I consulted many movies and books for Koudelka. A most impressive movie is The Name of the Rose (Jean Jacques Annaud 1986). I also read the original book which was written by Umberto Eco. It is a definitely masterpiece. If you want to know some origins of Koudelka's world, you may read Carnacki the Ghost Finder written by William Hope Hodgson and The Case of Charles Dexter Ward written by Howard Phillips Lovecraft. Many fantasy novels by Lord Dunsany (His his full name and title is Edward John Moreton Drax Plunkett 18th Lord Dunsany) are also important. If you want to know about visual origin of Koudelka, see photographs created by Bob Carlos Clarke and Jan Saudek and Holly Warburton. Those are extremely exciting works.
RocketBaby: How did you manage to write, direct, and compose the music for Koudelka?
Hiroki Kikuta Writing a scenario. Directing a CG movie. Composing a BGM. Each of those is no more than a single face of game creation. When I imagined the world of
RocketBaby: What was the easiest aspect of working on Koudelka? What was the hardest?
Hiroki Kikuta The easiest aspect is music composing. Because I can create a music by myself. It makes me free and I feel comfort. Hardest aspect was the behind-the-scenes maneuvering of power game in the company organization. I was so tired to do that. Let's get something straight: I am not a buccaneer but rather a creator. All aspects about creation are really pleasant for me.
RocketBaby: Why do you make music? Why do you make games?
Hiroki Kikuta Music composing is a natural behavior for me. Like breathing. I usually conceive a good melody and a harmony without suffering. So I have no reason to make music. I think that it is my vocation. Meanwhile, creating video games is not my vocation. It is my wish. I want to produce high quality entertainment in the future. When I write a story and a plot, I usually suffer by myself. Though it is very hard and thorny, I feel maximum accomplishment.
RocketBaby: What inspires your melodies?
Hiroki Kikuta Many great works of famous composers and musicians inspire me. If I must respect only one person or group as a music composer(s), I will take Pink Floyd.
RocketBaby: What are your hobbies and why?
Hiroki Kikuta Good question. Riding bicycles is my hobby. I also love my yellow Peugeot MTB made in France. I also have some fun playing with my cat. She is extremely pretty.
RocketBaby: When did you begin working at Square?
Hiroki Kikuta I began work at Square in 1991. I was twenty seven years old. In those days, the production studio of Square was placed in Akasaka Tokyo. It was small and homey, different from now. I remember that Nobuo Uematsu and Kenji Ito interviewed me in their office. We talked about progressive rock music and famous guitar player Allan Holdsworth with each other. I created sound effects for Romancing SaGa at the start of my career. A few of graphic design staff worked with me to design a lot of novelty sounds. We worked hard in night and day.
RocketBaby: How much freedom did you have making music at Square?
Hiroki Kikuta In a sense, I had perfect freedom. The planning staff of Square put none of the assignments relevant to the menu of music work and schedule in my hand. Nobody explained to me about details of the game which they were producing. I had to think and imagine what kind of music was needed for our game project. Changeover, changeover, and more changeover of specifications. It was difficult to foresee the final image of it. But I did.
RocketBaby: What is favorite game that you worked on at Square and why?
Hiroki Kikuta That may be Secret of Mana. I think that it was a pretty good game except for the big bug. The multiplayer system was extremely fresh and delightful. In the aspect of music, I was fully challenged in regard to sound expression using 8 voice PCM system of SNES hardware. Please see and hear the opening sequence of Secret of Mana. It is so simple but so lyrical, isn't it? I am really proud of my visual direction and music composition.
RocketBaby: Did Nobuo Uematsu influence your work?
Hiroki Kikuta I think there is no influence from Nobuo Uematsu. I have never taken any lessons about composing game music. The style and the melody of my music are totally conceived by myself. Just the same, every staff composer at Square were free from influence of somebody else. Originality and personality were cheerished in our studio. It was the policy of Nobuo Uematsu.
RocketBaby: What are the best and worst memories that you have of Square?
Hiroki Kikuta Hmmm... Best memory... It seems a trip to Mana island off Fiji. After a production of the game Secret of Mana, my friend and I decided to visit an island placed in the South Pacific Ocean. We dived everyday and watched some corals. Those were extremely beautiful. It looks like a blue heaven. I will never forget the view of the sunset from Mana's beaches. It is one of my treasures. By the way... Worst memory is a dissolution of the game team in which I was supposed to participate. I wanted to propose an innovative game system using music and sound effects.
RocketBaby: Who is your favorite Square composer and why?
Hiroki Kikuta I recommend Hitoshi Sakimoto. His works are extremely dense.
RocketBaby: One of our favorite soundtracks of yours is Soukaigi. The sound quality and styles are some the best for a game.
Hiroki Kikuta Soukaigi has many characters of sound. I designed it with different complex styles. House music meets real performance, fusion meets folk choir?? It was an adventure for me. To tell you the truth, the style of music does not a matter. I don't dwell upon it. Though I put a high value on counterpoint it does not bind me. It is only a method. In the case of Soukaigi, I was mainly influenced by East European pops like Varttina.
RocketBaby: Why did you leave Square?
Hiroki Kikuta I wanted to direct not only musical expression but also visual expression. And of course, I wanted to write a fine scenario which is different from existing ones. I had felt a big complaint against those juvenile works. But unfortunately, I couldn't get a chance to take a part in those kind of production works in Square. I suffered terribly for a long time. After all is said, I left Square and established new company Sacnoth to achieve my idea.
RocketBaby: Do you perform your music live?
Hiroki Kikuta If I have a chance to do that, I wish to play my music as a live performance. I didn't make an attempt to do that in Japan yet. Do you want to hear my music in front of your eyes, ya?
RocketBaby: Who would you like to make music with?
Hiroki Kikuta Hitoshi Sakimoto. I could not collaborate with him on composing game music when we were hired together by Square. I respect him. Except for game music composers, I want to collaborate with Allan Holdsworth, a fusion guitar player. His music is a miracle.
RocketBaby: How do you think game music compares to other genres of music?
Hiroki Kikuta I think that is similar to movie soundtracks. It is important to synchronize the music with visual element. It has an expressive purpose. If you want to create a game music, don't forget to construct it as an emotional device.
RocketBaby: How will the next generation consoles allow you to express yourself as composer and game designer?
Hiroki Kikuta I feel a strong attraction to the Xbox and GameCube. Their big visual capability makes me excited. I have many ideas to display fascinating characters using real time computer graphics; they will sing, dance, and talk with real emotion. Don't you want to play the Musical RPG on Network? I want to play it.
RocketBaby: What would your advice be to people who want to create game music?
Hiroki Kikuta Listen to as much music as you can. Don't confine yourself to your room. The genre of music is meaningless. If you want to find your treasure, you must challenge the common practice at any one time.
RocketBaby: How about those who want to make games?
Hiroki Kikuta Video games are not art. They are an entertainment. You must amuse your audience first instead of amusing yourself. I am always conscious of the feeling to accommodate someone with a fun service. Can you create a lot of gimmicks for the player? If you work so hard and push yourself enough, the day will come to collaborate in some way with me for sure. Let's think of a next game together.
RocketBaby: What is in the future for Hiroki Kikuta?
Hiroki Kikuta I will be involved in some new game projects that are not directed by me. I will be a technical advisor, graphics designer, and composer. But soon, I hope to form my studio and develop my own game project. So now I am looking for new investors around the globe.
